"Brokedown Merry-Go-Round" Show of the Week: Mike Tyson Mysteries, "The End"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," I discuss the week's best first-run animated series episode I saw. "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS.

There are two new fall TV shows with "mysteries" in the title: NBC's The Mysteries of Laura, the much-maligned and unwatchable Debra Messing cop show based on the Spanish procedural/telenovela Los Misterios de Laura (hence its soapy-sounding title), and Adult Swim's 11-minute Mike Tyson Mysteries, in which the former heavyweight champ (who voices himself), his adopted Korean daughter Yung Hee (Rachel Ramras), a talking pigeon named Pigeon (Norm MacDonald) and the ghost of the Marquess of Queensberry (Jim Rash) travel the world together to solve mysteries. From the moment when Iron Mike first mangles Cormac McCarthy's name--one of several examples of how, as Mike Tyson Mysteries creator Hugh Davidson once said, Tyson is the last person on Earth who should be solving crimes--it's clear that Mike Tyson Mysteries is the one with "mysteries" in the title that doesn't suck. I like how irrelevant the titular mysteries are, especially the one in the premiere episode, "The End," which, for most of its running time, barely pays attention to some sort of nonsense involving the reclusive McCarthy's whereabouts, a McCarthy imposter and chupacabras.

Mike Tyson Mysteries is far from a plot-driven CBS procedural that only the olds love because Gibbs is always right about everything and the young detectives who work for him are always wrong and clumsy because they're young, dagnabbit, and it's all Obama's fault and I can't find my dang pills because Obama! The titular mysteries are just an excuse for Davidson, who worked on Robot Chicken, to rattle off absurdist bits of humor, like the series premiere's unexpected-to-hear-on-Adult-Swim jokes about highbrow authors like McCarthy and John Updike, which sound like Dick Cavett invaded the writers' room. The 11-minute length is the perfect length for a show this plotless and weird but amusing nonetheless.

It helps that the cast includes Rash, who frequently steals scenes on Community (immediately Google "VCR Maintenance and Educational Publishing rap"), and MacDonald, who's great at stand-up or anchoring Weekend Update but isn't as great at anchoring a sitcom or a movie like Screwed, the 2000 buddy comedy where he co-starred with Dave Chappelle and Sarah Silverman. On this new show, MacDonald is perfect as both a supporting player and the snarky part of the ensemble. Pigeon's basically the Oscar Madison to Rash's stuffy Felix Unger, a laid-back boozehound who was once human and was transformed into a pigeon by his bitter ex-wife (the backstory of who she is and how she trapped him in this pigeon form isn't mentioned in the premiere; I predict she's a Wiccan). And I don't know who decided that Tyson should be voice-directed to just be himself--and then decided that if Tyson ever flubs his lines like he does in the premiere's first scene (even right before the running gag where he keeps mangling McCarthy's name as if it were Frank Bruno), it shouldn't be fixed in post--but that person who made those voice direction decisions deserves a free beer. The non-actory delivery of Tyson (who's credited as a co-producer) turns any of his TV acting roles, like his guest shot for Law & Order: SVU's recent "You Won't Believe What Happens When This Convicted Rapist Plays A Rape Victim" ratings-bait stunt, into a surreal few minutes of TV, and that same delivery is key to the silliness and weirdness of the whole 11-minute show.

"It's extra funny seeing these characters that remind you of Scooby-Doo and they're saying profanity," said Ramras to The Hollywood Reporter. Sure, Tyson's Mysterymobile is based on the Mystery Machine, and the ghostly presence of Marquess is inspired by one of Hanna-Barbera's gazillion clones of its own cash cow Scooby-Doo, The Funky Phantom, which was about a mystery-solving ghost, but the type of cartoon Mike Tyson Mysteries is mainly parodying is one most TV critics clearly don't remember and haven't cited in their Mike Tyson Mysteries reviews. Ruby-Spears was the studio founded by Hanna-Barbera escapees Joe Ruby and Ken Spears, who created the first incarnation of Scooby-Doo, and in the '80s, it produced a couple of terrible cartoon vehicles for macho celebrities, in which they appeared in live-action wraparound segments that were ripoffs of Bill Cosby's live-action segments on Fat Albert. The studio's unwatchable Mister T starred the A-Team bruiser as the coach of a multiracial team of mystery-solving gymnast kids, and then later, Ruby-Spears took a Chuck Norris action figure line and turned it into a 30-minute toy commercial called Chuck Norris: Karate Kommandos. The character design on Mike Tyson Mysteries is faithful to the character designs on Mister T and Karate Kommandos, but I like how the animation isn't as shoddy as it often was on those Ruby-Spears shows. Instead of being cheaply done, the animation is executed with the usual flair Warner Bros. Animation has brought to shows like Scooby-Doo! Mystery Incorporated and Batman: The Brave and the Bold prior to Mike Tyson Mysteries; for instance, the premiere's striking final shot of the team riding off into the sunset would have been impossible to accomplish with '80s animation technology.

"The End" is a promising start to an offbeat little show that succeeds at being entertaining, whether you're stoned or not. The premiere makes me want to see more absurdity from this strange teaming of Tyson, his Penny from Inspector Gadget-ish daughter, a Funky Phantom ripoff (which means Marquess is a ripoff of a ripoff) and a wiseass pigeon with a taste for "Internet whores." I'm looking forward to the episode where the team must investigate the mystery of why Debra Messing keeps picking such shitty TV projects.

Memorable quotes:
* Yung Hee: "It says he can't find an ending to the book he's writing." Pigeon: "And he thought he'd turn to a retired boxer for help. So the actual mystery is 'When did Cormac McCarthy lose his mind?'"

* Pigeon, after accidentally destroying McCarthy's Pulitzer Prize: "So would you say, 'The Pew-litzer melted in the fire,' or would you say, 'The Poo-litzer melted in the fire'?"

* "I'm looking for one good sex scene to jack off to before I go to sleep, but it's nothing but cowboys talking to other cowboys. McCarthy's a prude. He's no Updike. I like those John Updike women, those middle-aged tan gals..."

* Marquess offers his assessment of McCarthy's latest novel: "It's fine. It's just, um, there are no quote marks, so I just had to keep re-reading sections 'cause I don't know who's talking."

Not a Burger Stand becomes a viral sensation and makes me ask, "Why doesn't this kind of joint exist up in Northern Cali?"

As someone who used to listen to No Respect repeatedly, I will probably nail this. (Photo source: Not a Burger Stand)

Down in Burbank, a city that, thanks to late '80s-era Nick at Nite's Laugh-In reruns, I can't refer to without channeling Gary Owens and calling it "Beautiful Downtown Burbank," the chalkboard specials at a burger joint called Not a Burger Stand have gone viral. Not a Burger Stand's specials, which the Burbank restaurant posts on its Tumblr and Facebook pages, are accompanied by terrific re-creations of TV and movie characters by illustrators Lila Gonzalez and Kyle Carrozza. These specials also offer the kind of wacky discounts that are atypical for a burger stand but aren't surprising to see coming from a restaurant that's right next to Hollywood and the voiceover industry: customers get discounts if they order in the voices of--or dress up as--the characters that Gonzalez or Carrozza drew on the chalkboard. It's a really clever way to both run a business and see how terrible everyone's Matthew McConaughey impressions are.

I wish one of Not a Burger Stand's specials was "Order the Cap'n Crunch Fried Chicken and Funnel Cake in Cap'n Crunch's voice and get 10% off," but nobody who was born after 1988 knows what Cap'n Crunch sounds like. However, these other specials would be fun to order, especially for someone like me who's a fan of many voiceover artists and actually practices doing a few impressions of celebrity voices. These discounts make me think, "Damn, we need a burger joint like this up in here in the Bay Area so that I can trot out my '60s-era Sean Connery or my Tracy Morgan and get 10% off a burger."

(Photo source: Kyle Carrozza)

If you're just like me and you've never seen The Lego Movie, and then you stumble into some business where you get 10% off if you sing "Everything Is Awesome," but you have no idea how the Lego Movie theme goes, it goes a little something like this:

I didn't weep for Oberyn, but I felt bad for all the Latino viewers out there who hate it whenever a likable Latino character gets killed off on white television. "Ritchiiiieeee!," screamed Esai Morales, right after he saw the end of "The Mountain and the Viper" that night, even though the Viper isn't named Ritchie.

(Photo source: Lila Gonzalez)

"Brokedown Merry-Go-Round" Shows of the Year 2013

Samurai Flamenco, "Capture Samumenco!"

Every Friday in "'Brokedown Merry-Go-Round' Show of the Week," which was formerly called "5-Piece Cartoon Dinner," I discuss the week's best first-run animated series episode I saw. It's time to look back at the biggest standouts of the episodes I discussed in 2013 (in chronological order). "Brokedown Merry-Go-Round," a two-hour block of original score tracks from animated shows or movies, airs weekdays at 2pm Pacific on AFOS. "'Brokedown Merry-Go-Round' Show of the Week" returns on January 10.

Bob's Burgers, "Mother Daughter Laser Razor" (from January 9, 2013)

It took me about a few episodes of Bob's Burgers to get used to the weirdness of female characters being voiced by male comedians (kind of like how a viewer who's never seen The Venture Bros. before catches TVB for the first time and keeps wondering, "Why does that brunette chick sound like a dude?"), but now that I'm no longer distracted by that casting quirk, I consider Bob's Burgers to be the current crown jewel of the Fox "Animation Domination" block. Bob's Burgers creator Loren Bouchard has taken the best elements of his Squigglevision cartoons Dr. Katz, Professional Therapist and Home Movies--overlapping dialogue, great comedic voice acting by performers who weren't previously associated with animation, nicely written kid characters--and put them into a show with top-shelf animation (no off-putting squiggling during this one).

Add to those elements a recurring and interesting art-vs.-commerce conflict between Bob (H. Jon Benjamin) and his business rivals that Bouchard has said was inspired by the 1996 Italian restaurant movie Big Night--plus timeless storylines that deal with the unspoken affection the family members have for each other without getting too goopy--and you have a cartoon that's outlasted the Allen Gregorys and Napoleon Dynamites of the world and, due to its timeless writing, has the potential to age better in reruns than Family Guy's random pop-culture reference gags and the equally reference-heavy and spotty later seasons of The Simpsons. "Mother Daughter Laser Razor" is a great example of the Bouchard show's exploration of the bonds between the Belchers without resorting to those sitcom hugging scenes that made '80s studio audiences go "Awww" and made me want to go shoot myself.

Written by Nora Smith, "Mother Daughter Laser Razor" pairs off two characters who don't share a lot of scenes together--nine-year-old sociopath Louise (Kristen Schaal) and the parent she doesn't favor, the overly perky Linda (John Roberts, one of two male cast members on this show who voices females)--while continuing to explore how Louise's older sister Tina (Dan Mintz, the other actor playing female) seems to have inherited everything from Bob. Those attributes include a lonely and largely friendless childhood similar to the one we saw young Bob experience in "Bob Fires the Kids," Bob's calm demeanor and now, his hairiness.

At Dad's restaurant, Tina overhears a couple of popular classmates gossiping about another girl's hairy legs and realizes her own legs are equally hairy and susceptible to ridicule, so she asks Bob to take her to get her legs waxed after a couple of failed attempts to have them sheared. Lin was supposed to shave Tina's legs, but Lin, who's been fuming over Louise's frequent hostility towards her, is too distracted and angry to be entrusted with a razor, and as resident weirdo sibling Gene (Eugene Mirman) notes in one of the few observations of his that make any sense, "I don't think you should shave angry."

Lin's misguided solution to getting Louise to like her better is to trick her into taking part in a mother-daughter bonding seminar run by Lin's current favorite mommy blogger, "the Phenomimom," who turns out to be a creepy man named Dakota (Tim Heidecker from Tim and Eric Awesome Show, Great Job!) who holds his seminars next door to a laser-tag fun zone that's more to Louise's liking. Dakota's "Modo Time" methods of getting disgruntled kids to bond with their moms are, of course, pointless and ineffective. They range from lame role-reversal improv games to forcing the kids to re-experience their days as fetuses while trapped inside "vagi-sacks," a.k.a. sleeping bags.

Because Bob's Burgers is a very good cartoon as opposed to a sloppy one like The Simpsons' fake Itchy & Scratchy & Poochie Show that sets up the presence of a fireworks factory and then fails to utilize it as a gag, "Mother Daughter Laser Razor" makes it to the fireworks factory when Louise frees herself and the other kids from their hellish seminar experience and leads them to escape to the laser-tag fun zone, where Louise and Lin finally end up bonding over laser guns aimed at an enraged Dakota. If this were The Young Ones, the anarchic Louise's love of destruction and criminal activity would make her Vyvyan. Between the attraction to laser-tag and her enjoyment of Bob's favorite spaghetti westerns in "Spaghetti Western and Meatballs," I wouldn't be surprised if this mini-Vyv grows up to become an action movie director, just like how Gene is bound to become either a hacky morning zoo DJ or a hacky stand-up and Tina is headed towards becoming either a chef like her dad or an essayist penning Paul Feig-esque best-sellers about her awkward adolescent experiences.

The kid characters are the best part of Bob's Burgers. That's mainly because they--particularly the nutty and over-enthusiastic Gene--talk and behave more like real kids who don't really know much about the world outside the restaurant and the playground and less like precocious Huey Freeman-style stand-ins or Mary Sues for their adult creators (although Aaron McGruder's use of Huey as the voice for his politics on the Boondocks cartoon works quite well for that show).

My favorite example in this episode of the Belcher kids being such kids--other than Gene's desire to get a scrotal wax despite not fully grasping how painful it likely is--is a quick gag that's easy to miss, and a lot of them can be easily missed due to the overlapping dialogue that's distinguished Bob's Burgers from The Simpsons and the Seth MacFarlane cartoons. When Louise tries to back out of mother-daughter time, she communicates to Lin her reluctance to spend time with her by using break-up lines she's overheard from either dozens of break-up conversations between couples at the restaurant or break-up scenes in rom-coms: "Look, I think we should spend some time apart. I'm just not really looking for something serious right now. You understand--I mean, yeah, it's gonna be a little awkward, you've got some of your stuff at my place, we live together..." "I think we should spend some time apart" are words I hope I'll never have to say to Bob's Burgers.

***

Archer, "Fugue and Riffs" (from January 23, 2013)

Episodes like "Fugue and Riffs," Archer's wildly funny and violent fourth-season premiere, are exactly why I wanted to expand "5-Piece Cartoon Dinner" to include adult cartoons at the end of last year. "When the new year approaches," I asked myself, "do you want another year of sitting through Ben 10 reboots that cause your attention to wander or awfully written Ultimate Spider-Man episodes, or do you want to put that part of your time to better use, like covering adult cartoons that are more up your alley and are worthier of discussion and analysis?"

"Fugue and Riffs" is the kind of adult cartoon episode I should have been focusing on in the first place. It's another sharply written story involving ISIS agent Sterling Archer's ongoing conflict with his mother/boss Malory (Jessica Walter), and it contains a brilliant crossover with lead voice actor H. Jon Benjamin's other current cartoon, more semi-nudity from Lana Kane (Aisha Tyler) and esoteric references that are funny simply because they're so damn esoteric (British spy hero Thomas Elphinstone Hambledon! Manning Coles, the duo that created Hambledon! The star of Shazam! Émile Zola!). You won't see Spidey cracking a joke that's a nod to Zola's "J'accuse" letter during Ultimate Spider-Man, that's for damn sure.

(Photo source: Brain Explosion)

The season premiere opens with Archer tending the grill at the exact same titular restaurant from Bob's Burgers, Benjamin's other show, while surrounded by the Belcher kids and Linda (John Roberts, the only Bob's Burgers voice actor reprising his role), who gets to berate Archer with one of the various insulting nicknames that have become one of the Adam Reed cartoon's trademarks ("Well, excuse me, Ike Turner!"). Instead of appearing in their more familiar character designs from Bob's Burgers, Tina, Gene, Louise and Linda are awesomely redesigned to blend in with Archer's '60s comic book aesthetic.

I like how the cold open strings us along into thinking Archer is undercover as a burger joint owner as part of some ISIS op, until it becomes clear that it's no op and he has no memory of his life as an ISIS agent, although a few pieces of that life remain. They include fighting skills, which Archer puts to use during a badass and extremely gory restaurant confrontation with KGB assassins straight out of A History of Violence, his literary tastes (he dubs the restaurant's newest burger "a Thomas Elphinstone Hambledurger with Manning Coleslaw") and his metrosexual side ("What I am gonna do is find out who this Archer jerk is... I'm also probably gonna do a spa weekend").

It turns out that two months ago, Archer developed amnesia due to a moment of extreme stress and ran away to a new life as a seaside fry cook named Bob. He married Linda and apparently became her second husband, which makes me wonder what happened to the original Bob in this universe (Alex, I'm gonna go with "What is dead?," and because much of this show's humor thrives on kinky or freaky behavior, I wouldn't be surprised if Linda has been remolding Archer Vertigo-style to look more like Bob). Both ISIS and the KGB are after Archer for different reasons: Malory assigns Lana, Cyril (Chris Parnell) and Ray (Reed) to stage a fake run-in with the KGB in front of Archer to try to jog his memory and get him back to the agency, while bionic villain Barry Dylan (Dave Willis) sends more KGB assassins to eliminate Archer.

Part of the fun of "Fugue and Riffs" is trying to figure out the stressful moment that triggered Archer's amnesia. We're given a clue early on when Malory complains that her son hates seeing her be happy, and when the catalyst is revealed at the end to be neither a bomb explosion nor a Bourne Identity-style, ISIS-sanctioned attempt on his life, but something far less action-y--Malory's wedding to Ron Cadillac, the most successful Cadillac dealer in the Tri-State Area--it makes perfect sense within the neurotic, wracked-by-mommy-issues world of Archer. In a great bit of stunt-casting, the show has recruited Ron Leibman from The Hot Rock and Friends, as well as Walter's real-life husband, to voice Malory's new hubby, who's won over everyone at ISIS during Archer's two-month absence and whose presence this season is bound to reignite an old thread from a couple of seasons ago: Archer's search for his biological father. (Archer reportedly begins to form a bond with Ron in the new season's fourth episode. I can't wait to see if Reed, who's obsessed with the movies of one-time Archer guest star Burt Reynolds, will toss into that episode a reference to The Hot Rock or Leibman's other '70s crime-genre cult favorite, The Super Cops.)

The rest of the fun of "Fugue and Riffs" involves being reacquainted with the elements that make Archer such an entertaining adult cartoon, from the batshit crazy behavior of Dr. Krieger (Lucky Yates) and office subordinates Pam (Amber Nash) and Cheryl/Carol (Judy Greer) to the self-satisfaction Archer gets from anything he does or says, particularly his esoteric jokes, as if he's a boy who just discovered cursing. Archer may be a competent, book-smart, sharply dressed and jet-setting spy with a sex life many of us Archer viewers would kill for, but deep down, he's really just a kid who never grew up and knows only how to be a narcissistic asshole, thanks to screwed-up parenting from an asshole of a parent. "Fugue and Riffs" reinforces Archer's childishness when he woo-hoos like a kid over the Molotov cocktails he and Lana lob at the assassins, or when one of Lana's attempts to get him to remember ISIS tanks and causes him to go off on a tangent about his love for Shazam!, which sometimes crossed over with the superheroine show The Secrets of Isis in the '70s--a nod to how this episode crosses over with Bob's Burgers.

No wonder Archer identifies so much with Shazam, née Captain Marvel, even in his fugue state. Shazam is a boy in a grown man's body, just like Archer.

***

Regular Show, "That's My Television" (from March 6, 2013)

Regular Show writers/storyboarders Madeline Queripel and Andres Salaff were responsible for one of the show's most unengaging shorts, this season's Fourth of July-related "Firework Run," a borderline racist episode that felt like a right-winger's worst nightmare about the Mexican gangster villains from Robert Rodriguez's Mariachi trilogy, even though Salaff himself is Latino (at the end of "Firework Run," the main heavy was revealed to have been a robot, perhaps a "Kim Jong Il is really an alien cockroach, so that's why we made his Engrish accent so cartoonishly thick"-style attempt to make the episode come off as less racist.) Queripel and Salaff also happen to be behind one of the show's best shorts, "That's My Television," an imaginative and wildly funny installment where Mordecai and Rigby come to the rescue of one of their favorite childhood TV stars, a talking TV set named RGB2 (Sam Marin), who's grown tired of showbiz and wants to flee to a much quieter life in a destination known as "Pine Mountain."

RGB2 starred as himself on the crappy '80s sitcom That's My Television, and a nameless TV network has brought back into production the still-popular show, which brings to mind every corny '80s housekeeper sitcom you've seen, whether it's Gimme a Break, Mr. Belvedere or TBS' ultra-cheesy Down to Earth (RGB2's signature catchphrase is "I hope you saved room for dessert!"). But RGB2--who needs to ingest cans of "'80s Air" a la Perri-Air from Spaceballs in order to survive--isn't enjoying a single minute of the revival, especially because the network is run by an intimidating exec who looks like Cartoon Network founder/owner Ted Turner (but doesn't sound like him at all and is voiced here by Jeff Bennett) and sends armed thugs in suits to threaten his stars if they don't do what he says.

At RGB2's Comic-Con-style meet-and-greet with his fans, Mordecai and Rigby win a drawing to receive That's My Television DVDs signed on the spot by RGB2 himself, and the star secretly pleads with the duo to help him escape to Pine Mountain. Mordecai and Rigby agree to help out their sitcom idol--it's not surprising that these slacker park workers identify with a domestic worker who frequently gets into comedic misunderstandings with the head of the household ("RGB2, room for dessert doesn't actually mean a whole room full of dessert!")--and their kind gesture sends Faux-Ted and his network thugs chasing after them in the most entertaining animated car chase I've seen in a while. Either Queripel or Salaff is enamored with both Casino Royale's badass airport tarmac stunt in which the jet wash of an incoming plane sends a police car flying through the air and the Guinness World Record-breaking Aston Martin cannon roll stunt from the same film because during the chase sequence, a couple of the network minions' Humvees are seen tumbling through the air in similar fashion.

RGB2 is clearly a riff on ALF, R2D2 and the dwarf actors who played them: Michu Meszaros sweated his balls off inside ALF's costume whenever a scene on ALF didn't call for the ALF puppet to be used, while R2 was operated by Kenny Baker, whose autograph adorns the liner notes of my CD copy of the expanded 1977 Star Wars soundtrack. The parallels to Meszaros and Baker are made plainly clear in the episode's nutty, disturbing and oddly affecting twist ending, when Mordecai and Rigby discover that RGB2 isn't a sentient TV set and has actually been a naked old actor inside the TV the whole time, which explains the need for '80s Air to help the poor guy breathe inside that damn TV. The dying man's destination turns out not to be a mountain but a billboard in the middle of nowhere for Pine Mountain Gas (presumably the gas station he either left behind to pursue stardom or was discovered at when the network was on the lookout for someone to operate RGB2).

Just like how this naked guy stayed hidden inside what was basically a mobile prison for over three decades, hidden within the '80s gags, the hilariously over-the-top car chase, the gunplay and the jabs at both focus group-driven TV and network exec jargon are serious questions about fandom, the pressures the public puts on TV stars and viewers' relationships with those stars and the TV industry--hence the double meaning of the title "That's My Television," which refers to both RGB2's show and people's attachment to the idiot box. The episode asks us to decide which kind of TV fan do we want to be by presenting two types of fans. Do we want to become so attached to TV that we degenerate into the mean and deranged middle-aged fangirl from RGB2's meet-and-greet who doesn't care for the well-being of a star like RGB2 and demands that he continue to entertain her even if the entertainer isn't happy or right in his mind or is endangering his own life by playing this character? Or do we want to be more like Mordecai and Rigby, who aren't as out-of-control in their fandom, are more understanding about RGB2's misery and are treating him more like a human being--even though for almost the entire episode, they think he's just a talking TV set?

"That's My Television" also questions whether it's worth it for performers like RGB2's portrayer to sacrifice a normal life--and their health--for fame and syndication money. Fortunately, the episode raises these questions without a single bit of speechifying and without trotting out Mordecai and Rigby after the episode to address the audience and deliver a moral like Filmation used to do with its characters. That's how terribly written most cartoons used to be back in the day. To borrow the words of one of the network thugs who get attacked by Mordecai, Rigby and RGB2 with weaponized cans of '80s Air, "Aw, sick! It smells like the '80s!"

Other memorable quotes:
* RGB2 defends himself with a rocket launcher: "It was a gift from the Russian Prime Minister! He loves the show!"

* "Bravo, gentlemen, bravo! Overall, that was a pretty nice PG getaway. Way to reach out to the 18-to-35 demographic. Oh, and nice third-act climax, by the way. The helicopter explosion really tied it all in with a cherry on top."

* "We just have a couple of notes for you. You see, our research groups have shown that nobody wants to see the good guys win anymore."

* The network exec threatens Mordecai, Rigby and RGB2 with his new, heavily armed and Poochie-like action star, who emerges on a skateboard: "Our focus group studied everything that boys ages nine to 14 find the most brutal and destructive!"

* "I'm not dead! I was just resting."

***

Scooby-Doo! Mystery Incorporated, "Come Undone" (from April 10, 2013)

"Come Undone," the Scooby-Doo! Mystery Incorporated series finale, takes one of the most wack and least imaginative story resolutions in sci-fi, the reset button, and somehow makes it work, much like how Mystery Incorporated took a franchise that was entertaining only when you were a kid--and had become so unwatchable--and made it appealing again and genuinely dark and funny. The Mystery Incorporated team manages to defeat the Evil Entity, the previously imprisoned Anunnaki deity that's responsible for all the costumed criminals and evilness in Crystal Cove and has ended up consuming all of the town's inhabitants except for the detectives (in a series of scenes that are the darkest and bleakest this franchise has ever gotten and are therefore, awesome). Their triumph over the entity erases every trace of it from existence and creates a new timeline where Crystal Cove, "the Most Hauntedest Place on Earth," is now "the Sunniest Place on Earth" because the entity wasn't there to corrupt any of it.

Fred, Daphne, Velma, Shaggy and Scooby discover that their lives in this new timeline are perfect, and everyone who was previously killed off, including Velma's lesbian lover Marcy (let's face it, Linda Cardellini's reading of Marcy's last line in "Come Undone," "That's my girl," confirms it), is alive again. (Patrick Warburton's Sheriff Stone says the funniest line in "Come Undone," when he introduces his and Mayor Nettles' kids: "Now Eastwood, Norris and Little Billy Jack need to be asleep by eight. Lynda Carter here can stay up as long as she likes, on account of her being more adorable than her brothers.") But in a great turn of expectations, everyone in the team is dissatisfied with this timeline because there are no mysteries for them to solve.

Then here's where "Come Undone" cleverly handles the reset button: previous Mystery Incorporated guest star Harlan Ellison--the new Mr. E in this timeline and the only other person who knows of the changes the team made to the previous timeline because of his ability to see the events of alternate dimensions--contacts the detectives to let them know that he's enrolled them as students at his campus of Miskatonic University, the same setting from H.P. Lovecraft stories. At Miskatonic, there'll be plenty of mysteries for the team to solve, so in a brand new Mystery Machine they repaint after they destroyed the previous one earlier in the season, the detectives drive off to Miskatonic, perhaps encountering a few mysteries along the way, much like the ones they stumbled into while on the road back in the late '60s and early '70s. That means the entire run of Mystery Incorporated was basically a prequel to Scooby-Doo, Where Are You!

It's a brilliant way to end a cartoon that modernized Scooby and made it more like a Joss Whedon show by stocking it with snappy dialogue or in-jokes for older viewers (my favorite recent gag that no Cartoon Network viewer under 30 would understand was former MTV VJ Martha Quinn as herself, attempting to sell the detectives a bootleg of a Scritti Politti Christmas album that was recorded in Esperanto) and raising the stakes by building elaborate, apocalypse-related mythologies, which is interesting because Buffy affectionately borrowed from Scooby and nicknamed its central heroes the Scooby Gang. (Whedon regular Amy Acker even turned up on Mystery Incorporated and voiced the benevolent Anunnaki being who possessed Scooby's puppy girlfriend Nova.) The showrunner of the next animated Scooby incarnation should just give up. Whatever he has in mind for his iteration of those meddling kids is hardly going to be as good as Mystery Incorporated was.

***

American Dad, "The Missing Kink" (from April 17, 2013)

If there's any American Dad episode that I wish a group of radicals (much like the counter-protesters who came up with a bunch of brilliant ways to mock hateful protesters from the Westboro Baptist Church at the 2010 San Diego Comic-Con) would show in a screening room if they kidnapped the members of the Parents Television Council, strapped them down and forced them to watch some great comedic TV made for adults while subjecting them to some sort of Ludovico treatment-like experiment so that their heads would explode, and then they'd wind up catatonic so that they'd shut the fuck up and stop trying to ruin adult animation or adult sitcoms for everybody else, that episode would be "The Missing Kink."

Hayao Miyazaki's retirement means no more sublime moments of animation like my favorite food scene in The Castle of Cagliostro

I've been co-writing an article about YouTube videos that have fused anime footage with hip-hop joints (the piece will appear over at Word Is Bond). While working on that, I binge-watched on Hulu the entire single-season run of last year's animated caper show Lupin the Third: The Woman Called Fujiko Mine, a raunchy, not-for-kids prequel to the Lupin the Third franchise, after I saw comic book critic David Brothers recommend Fujiko Mine in one of his Tumblr posts. Both the in-the-works article and Fujiko Mine got me to revisit the much-revered caper flick The Castle of Cagliostro, a 1979 theatrical spinoff of the late '70s Lupin TV series and a film I hadn't seen in 20 years.

I enjoyed rewatching set pieces like the mountainside car chase and the clock tower climax, which director Kevin Altieri memorably paid tribute to in the climax of Batman: The Animated Series' first Clock King episode ("That movie is what got me into animation," said Altieri in a 1993 Cinefantastique magazine interview where he also noted that even though Cagliostro was done with limited animation, it tells "a real story with real emotion"). But during this rewatch, I also noticed something equally sublime that I didn't quite pay attention to when I watched Cagliostro on VHS as an action scene-loving kid: the food scenes.

After the car chase, Lupin and his sidekick Jigen stop for a bite to eat and share what has to be the most delicious-looking plate of spaghetti and meatballs ever drawn in animation (it's so delicious-looking that fans of the film have attempted to recreate the same-looking dish in their kitchens). That little dining scene caught my attention this time out because spaghetti is one of the few meals I know how to cook.

(Photo source: Fanpop)

It's also because the way Lupin and Jigen grab the pasta with their forks is as dynamically realized as the car chase and the clock tower fight. Again, the animation is limited, yet it's a scene that's imbued with personality and great character details, something that can't be said about the limited animation and frequently recycled shots in the Filmation Saturday morning cartoons that were being made in America at the time. Also, Lupin and Jigen's enjoyment of their meal isn't done in a comedically exaggerated way, like whenever everybody's favorite potheads Warner Bros. Animation will never admit are potheads, Shaggy and Scooby, are shown devouring submarine sandwiches (although later in the film, an injured and famished Lupin's attempt to get back in the game by binging on chicken and entire blocks of cheese is a very Shaggy and Scooby-esque bit of slapstick).

Cagliostro was the first film I ever saw that was directed by legendary animator Hayao Miyazaki, so I wasn't aware of his trademark touches as a filmmaker. Since that first viewing of Cagliostro, which also happened to be the first feature Miyazaki directed, I've peeped most of his other films, and I've noticed he and his Studio Ghibli animators draw and animate food like nobody else. For instance, in Howl's Moving Castle, bacon actually looks like bacon, not unappealing sticks of Topps baseball card gum (although in the film, the bacon is served with sunny-side-up eggs, which makes the bacon slightly less appetizing for me because I hate eggs--except when they're in omelet form). Miyazaki objectifies food instead of women, which makes him the least pervy of Japanese animators (both that and his knack for writing interesting and fully dimensional female characters are why women love his films). His live-action equivalents in the foodie movie department are Ang Lee and Martin Scorsese, whose 1974 documentary short Italianamerican and famously food-obsessed GoodFellas shouldn't be watched when you're hungry.

Those little cuisine-related moments are an example of what Emily Yoshida describes in Grantland as "his intimate understanding of the most mundane human phenomena," and that understanding is what I'll probably miss the most about Miyazaki, who happened to announce his retirement from directing as I was revisiting Cagliostro. For his final directorial effort, the 126-minute The Wind Rises, which was received quite well at its Toronto International Film Festival premiere earlier this week and is slated for American release in February, Miyazaki chose to do a historical drama about Japanese aircraft designer Jiro Horikoshi, making this his most grounded and least fantasy-driven directorial effort since Cagliostro. I don't know if there will be any tantalizing shots of food in The Wind Rises like there are in Cagliostro or Spirited Away, but if he has somehow managed to make the much quieter drama of the ambivalence over building weapons for war as interesting as those food scenes, The Wind Rises will be a solid closer to the mostly satisfying full-course dinner that has been Miyazaki's filmography.

Themes from Lupin the Third, including the 1980 Lupin main title theme, which was used as an action theme in Cagliostro, as well as selections from scores to other Miyazaki movies (Princess Mononoke, Spirited Away and Howl's Moving Castle), all can be heard during the "Brokedown Merry-Go-Round" block, weekdays at 2pm Pacific on AFOS.

5-Piece Cartoon Dinner (04/10/2013): Archer, Scooby-Doo!, Out There, Apollo Gauntlet and Do's & Don'ts

Some people just want to watch the gazebo burn. (Photo source: Archer Wiki)

Every Wednesday in "5-Piece Cartoon Dinner," I dine on five of the week's most noteworthy animated shows. The episodes are reviewed in the order of when they first aired.

Jon Hamm's last animation guest shot had him voicing a talking toilet on Bob's Burgers, and in Archer's two-part "Sea Tunt" season finale, Hamm voices a character who's almost as bizarre as that toilet: Captain Murphy, one of many batshit crazy characters who populated Sealab 2021, Archer executive producers Adam Reed and Matt Thompson's Adult Swim show from the '00s. Here, Captain Murphy (the namesake of electronica/hip-hop producer Flying Lotus' masked alter ego as a rapper) is reimagined as an eco-terrorist who's plotting to attack Miami, New York City and the nation's capital with missiles tipped with nerve gas.

But the Mad Men star doesn't really get to do much in "Sea Tunt: Part I." The episode is more of a showcase for guest stars Eugene Mirman and Kristen Schaal, who get to interact with their Bob's Burgers co-star H. Jon Benjamin, and the entire regular cast (except for Lucky Yates as Krieger, who stays behind at ISIS Headquarters), and any episode that traps the entire cast in enclosed farcical situations that escalate into gory (or in other episodes, nudity-filled) chaos is always entertaining.

Instead of voicing their Bob's Burgers characters like John Roberts got to do in "Fugue and Riffs," Mirman voices Cecil Tunt, Cheryl/Carol's oceanographer/philanthropist brother, while Schaal plays Tiffy, Cecil's easily perturbed helicopter pilot and girlfriend. Malory turns to Cecil for one of his deep-sea vehicles, which will allow her and the agents to recover a hydrogen bomb inside a B-52 bomber that went down in the Bermuda Triangle in order to get a reward from the U.S. government. Of course, nothing goes as planned: the bomb turns out to be a hoax concocted by Cecil to get ISIS to stop Murphy, the lead scientist at Cecil's undersea research lab, from going through with his plan. The hoax is also a scheme for Cecil to obtain on record as many stories about his sister's insane behavior as he can from her co-workers so that he can get conservatorship over her to steal her inheritance and use it to fund his numerous philanthropies.

(Photo source: Archer Wiki)

"Sea Tunt: Part II" is bound to be a more impressive and chaotic half than "Part I," but this episode isn't too shabby, thanks to killer jokes about score music and Cheryl/Carol's sanity. When everyone reacts in shock to Cecil's bit of info about Murphy's nerve gas supply, lifelong pyromaniac Cheryl/Carol is the only one who's thrilled about the madness that's about to ensue. Her giddiness matches our own.

Stray observations:
* Malory: "We are going to beat the Russians!" Archer: "Give it up, folks! Mike Eruzione!" I knew watching that DVD rental of Miracle would pay off someday.

* Archer, after being introduced to Cecil: "Yeah, Rien Poortvliet just called. He wants you to pose for him. [Awkward silence.] Oh, c'mon, beloved illustrator of Gnomes? Jesus, read a coffee table book!"

* Pam references an '80s Stephen J. Cannell show that, for a change, is neither The A-Team nor The Greatest American Hero: "I assume you've got an epi-pen on this big Riptide-lookin' bastard?" I wouldn't be surprised if Archer or one of the other ISIS employees was a Renegade viewer back in the '90s.

(Photo source: Archer Wiki)

* Homer Simpson's eating noises used to make me instantly chuckle, but now I think Pam's eating noises while wolfing down vegan crab legs, courtesy of Amber Nash stuffing her face with cheese puffs, are funnier. Or maybe it's because they're paired up with the sight of Pam's face swelling up from soy allergies.

* Cheryl/Carol keeps hearing suspenseful score cues: "Just ignore it. It's non-diegetic." And later on: "Goddammit, shut up, John Williams!"

5-Piece Cartoon Dinner (08/21/2012): Scooby-Doo!, Gravity Falls, Ultimate Spider-Man, The Avengers and Adventure Time

Looks like Roger Clemens is totally ready for the minors. (Photo source: Haunted Realm)

Each Tuesday in "5-Piece Cartoon Dinner," I dine on five of the week's most noteworthy animated cable shows that are found outside my Adult Swim comfort zone. The episodes are reviewed in the order of when they first aired.

After burning off in a three-week period the first 15 episodes of Scooby-Doo! Mystery Incorporated's second and most likely final season, Cartoon Network has put Warner Bros. Animation's surprisingly clever update of Scooby back on hiatus again. But at least the half-season ended with three of the show's strongest episodes to date.

"Wrath of the Krampus" breaks from the formula of "masked menace terrorizes Crystal Cove/gang tries to trap culprit/gang unmasks culprit." "Heart of Evil" is a fan-servicey (for older viewers who grew up on Hanna-Barbera shows, that is) but enjoyable crossover that unites three different Hanna-Barbera properties: the Scooby franchise, the adults from Jonny Quest and the bionic dog Dynomutt (Frank Welker), whose partner Blue Falcon now speaks in a silly Christian Bale-style rasp supplied by Avengers: Earth's Mightiest Heroes voice actor Troy Baker. Finally, "Theater of Doom," was, unless I'm mistaken, co-written by the same Joe Flaherty who killed it on SCTV in the '70s and '80s and served as ornery dad to frequent Mystery Incorporated guest star Linda Cardellini on Freaks and Geeks.

"Theater of Doom," a.k.a. Chapter 41 (with 11 more chapters to go, starting on God-knows-when on Cartoon Network), mocks bad community theater with the same flair SCTV displayed in its parodies of bad TV and B-movies, so I wouldn't be surprised if that really was Count Floyd who worked on the script with Paul Rugg, the writer/voice actor from Animaniacs and Freakazoid. The half-season finale checks in on Vincent Van Ghoul (Maurice LaMarche), the washed-up horror movie star character originally voiced by Vincent Price on Hanna-Barbera's 13 Ghosts of Scooby-Doo, and ominously predicts that "the dog dies" and will be corrupted Gollum-style by the Planispheric Disk before dying. But which dog? Scooby or his non-verbal girlfriend Nova?

The best of these three episodes has to be "Wrath of the Krampus" because of its delightful major twist: the meddling kids are the culprit for once. A series of monster attacks on Crystal Cove's rowdiest preteens is revealed at the end of "Wrath of the Krampus" to be a ruse orchestrated by Fred and his friends to distract Professor Pericles and his fellow conspirators Mr. E and the Sternums from getting their hands on the Planispheric Disk.

Other than his expertise in setting traps, Fred isn't terribly bright. That's the other trait besides the knack for traps that Fred inherited from his equally dim birth parents Brad and Judy (a.k.a. the Sternums), so I initially couldn't buy that Fred could be capable of being several steps ahead of the four conspirators in "Wrath of the Krampus." Then I remembered the show is set in a heightened reality where dogs can talk and are saved from death by bionic implants, criminals are able to fly because of rocket packs and ancient artifacts cause animals to turn evil, so the gang's ability to outsmart Pericles' team with the help of basically everyone in Crystal Cove makes perfect sense within the Doo-niverse.

***

In "Irrational Treasure," Gravity Falls finally delves into a part of its mythology I've been looking forward to: the history of the strange title town where Dipper and Mabel have been forced by their parents to spend their summer vacation. Looking for a way to take mean girl Pacifica Northwest down a peg after she insults Mabel's tastes for quirky sweaters and nacho earrings and hurts her feelings during the town's Pioneer Day festivities, Dipper and Mabel find their ammo when they uncover evidence that Pacifica's great-great-grandfather Nathaniel Northwest, the supposed Gravity Falls founder, was a fraud. In doing so, the Pines twins stumble onto a government conspiracy revolving around the actual town founder, Quentin Trembley (series creator Alex Hirsch), whose achievements were erased from history because of his disastrous term as the eighth-and-a-half President of the United States.

"Irrational Treasure" writers Hirsch and Tim McKeon go crazy with their alternate history of America, which provides hilarious explanations for Abraham Lincoln's top hat (it concealed a giant head that was shaped like a hand), Mount Rushmore (it's in the Easter egg below) and the replacement of Trembley with William Henry Harrison. In the top-secret government film watched by Dipper and Mabel, the Chris Parnell-voiced narrator tells of an out-of-it leader whose nutso behavior--reminiscent of Parnell's Dr. Spaceman character and his non sequiturs on 30 Rock--earned him the moniker of "America's Silliest President" ("He waged war on pancakes, appointed six babies to the Supreme Court and issued the De-pants-ipation Proclamation").

The gags about silly presidential behavior and old town laws that allow citizens to marry woodpeckers dovetail nicely with a story about Mabel learning that it's okay to be herself and that weirdness has its advantages. Without her weirdness, Mabel wouldn't have uncovered all the evidence that she and Dipper would use to discredit the Northwests. And without all those absurdist gags and hidden messages (speaking of which, this week's cryptogram--"v. kofiryfh givnyovb"--is "E. Pluribus Trembley") or the entertaining way the show deploys those gags to explore the challenges of growing up as a misfit, Gravity Falls would just be a standard Disney Channel show, as forgettable as the '90s "TGIF"-style live-action sitcoms all over the channel's lineup.

***

Damage Control, a construction firm that specializes in fixing the property damage caused by battles between superheroes and supervillains, was Marvel's clever response to the question "How do the regular joes in New York City deal with the aftermath of those battles?" Comics critic David Brothers once noted that Damage Control and its solo miniseries of the same name grounded the Marvel Universe in the real world and re-emphasized the role of the common man in a universe full of gods and superhumans. "Damage Control was a fun twist and a gentle reminder of just how interesting and off-kilter Marvel Comics could get away with being," wrote Brothers.

The firm was one of the most memorable creations of the late comics and animation scriptwriter Dwayne McDuffie, who receives a nice tribute and dedication from his former Ben 10 colleagues, the Man of Action collective, in the collective's otherwise drab Ultimate Spider-Man episode "Damage," which has Spidey and his S.H.I.E.L.D. teammates going undercover as Damage Control workers to apprehend the Wrecking Crew, a team of demolition-themed baddies. Man of Action and "Damage" co-writer Scott Mosier's version of Damage Control reimagines account executive character John Porter as the firm's founder and CEO, renames him "Mac" in honor of McDuffie and gives him McDuffie's face (and as a shout-out to McDuffie's Static Shock animated series, former Static Shock cast member Kevin Michael Richardson voices Mac).

Mac Porter, the head of the Damage Control team on Ultimate Spider-Man, was modeled after Dwayne McDuffie (1962-2011), who created the team for Marvel in the late '80s.

5-Piece Cartoon Dinner (08/14/2012): Scooby-Doo!, Dragons: Riders of Berk, Gravity Falls, Adventure Time and Randy Cunningham

Mrs. Bjorkland and her bjorkable daughters

Each Tuesday in "5-Piece Cartoon Dinner," I dine on five of the week's most noteworthy animated cable shows that are found outside my Adult Swim comfort zone. The episodes are reviewed in the order of when they first aired.

I know using a phrase like "It's The Wire of lawyer shows" or "It's The Wire of space operas" to describe a serialized show's novelistic narrative structure has become a bit of a cliché lately. But Scooby-Doo! Mystery Incorporated supervising producer Tony Cervone's recent tweet in which he asserts that his show "has always been a 52-chapter long story" and nothing more has made such a phrase unavoidable when describing why Mystery Incorporated is such a standout cartoon.

Cervone's tweet also confirms why there's no clamor from the show's staffers for another season of Mystery Incorporated. And I'm okay with the fact that after Chapter 52, this exceptional, Wire-esque-in-structure-if-not-in-scope incarnation of Scooby is dead and buried. I'd rather have Mystery Incorporated stick to its planned end date than wear out its welcome and turn into a shell of its former self a few years later (that is if it'll ever reach its final few episodes because after this week's batch of episodes, Cartoon Network is--*sigh*--putting the show on hiatus again).

So what's happened in the last few episodes of the second season of Scooby-Doo! Burnoff Theater? Daphne is apparently a chocoholic. Hot Dog Water resurfaced as a perp--and Velma let her get away with it, as her feelings for Marcy were again carefully hidden by the show's producers. Sheriff Bronson Stone (Patrick Warburton) and Mayor Janet Nettles (Kate Higgins) are now an item. The show channeled a cartoon that's frequently parodied Scooby, The Venture Bros., and revealed that Fred's trap-building parents are the Doo-niverse's equivalent of Hart to Hart (I love how their butler sounds exactly like Lionel Stander). Rough winter weather forced the team to spend the night at a secluded mansion and experience freaky hallucinations (one of them causes Daphne to make out with Shaggy, which shocks the hell out of both Fred and Scooby) during one of the show's most eerie episodes so far, a Shining homage/parody.

It turns out that the Professor Pericles-era Mystery Incorporated team wasn't the first team of mystery-solvers that consisted of four teen sleuths and an animal mascot. There were other precursors to Scooby and his friends, starting with Burlington's Benevolent Lodge of Mystery in the 1880s. Remorseful Mystery Incorporated alum Cassidy Williams sacrificed her life while taking a stand in the sea against her former teammate Pericles. But we never saw her body after the explosion, and in live-action episodic TV, we know what that means.

Count Evallo Von Meanskrieg

And finally, the series continues to sneak in amusing Easter eggs that are worth freeze-framing and perusing. From the "Gathering Gloom" episode, here's the complete text that was written on the rejected work permit that Velma read about Count Evallo Von Meanskrieg, the perp voiced by Chris Hardwick:

Previous job experiences
Scaring small children, being mean to the elderly, shaving kittens and painting them blue, building sewage treatment plants so they back up when used, driving busloads of innocent civilians into the middle of nowhere and then leaving them there, poking holes in the bottoms of all candies in a box to see what they are and then putting them back in the same box, wearing other people's socks and then putting them back in their drawers with extra foot stink on them.

References from old country
It is hereby stated that several individuals have come forward detailing that Count Evallo Von Meanskrieg is the meanest individual to ever walk the face of the earth. Too numerous to list here. The many complaints against his character have been added to this Work Permit application as an addendum. To summarize, Count Evallo Von Meanskrieg is one very mean and evil individual. One person testified that flowers wilt when he gets too close to them. The sky has been seen darkening as he approaches and it is said that his breath is most foul. The breath itself is due to the fact that Count Evallo Von Meanskrieg has never brushed his teeth since the day he was born. Several other references report that the applicant in question curdled milk by looking at it and made a cow climb a tree from sheer meanness.

Disposition of Applicant
Mean as an angry snake that has been hit by several rocks.

Appearance of Applicant
Mean and unpleasant. He has an aura of pure evil about him.

Overall Assessment of Applicant
It is hereby determined that Count Evallo Von Meanskrieg be denied this Work Permit on the grounds that he is too evil to properly perform any useful service in any possible position in the workforce. His sheer evil personality and dark disposition would only spread discontent and unhappiness to all his co-workers. This office hereby denies Count Evallo Von Meanskrieg. He is evil.

***

Based on a series of books by Cressida Cowell, the 2010 boy-and-his-pet tale How to Train Your Dragon is my favorite DreamWorks Animation film because of both the startling lack of lazy pop-culture reference humor that has made other DreamWorks Animation films instantly dated (the humor was more character-based in this film) and the chances it took with its storytelling. They included the initially controversial decision to end How to Train Your Dragon with its teenage hero Hiccup (Jay Baruchel) left disabled from battle (in a rare instance of test screenings actually being useful for a change, parents at the screenings requested that the film's producers leave the ending unchanged) and the clever way the film developed Hiccup's growing friendship with Toothless the dragon without any dialogue.

I'm so glad directors Dean DeBlois and Chris Sanders, who previously made Disney's above-average Lilo & Stitch, chose not to have the catlike Toothless speak at all. If DeBlois and Sanders weren't involved, I'm sure Toothless would have been voiced by Tracy Morgan or ugh, Carlos Mencia, and How to Train Your Dragon would have ended up being just another disposable and routine DreamWorks Animation film.

The choices DeBlois and Sanders made in departing from the DreamWorks Animation formula paid off immensely and have led to an in-the-works sequel and Dragons: Riders of Berk, a promising-looking Cartoon Network series that will bridge the two films and expand upon the Dragons universe, as well as explore the Viking villagers' difficult adjustment to co-existing with their new dragon allies. Last week, the channel sneak-previewed "How to Start a Dragon Academy" and "Viking for Hire," the first two episodes of Dragons, back-to-back, about a month before the series' official premiere on September 4.

Most of the voice actors from the 2010 film have returned for Dragons ("Jay didn't want anyone else to voice [his] character," said DreamWorks Animation exec Peter Gal at a Comic-Con panel for the series). Only Gerard Butler, Kristen Wiig, Jonah Hill and Craig Ferguson are absent for obvious reasons and have been replaced respectively by Nolan North, Julie Marcus, Zack Pearlman and Chris Edgerly, who does a passable CraigyFerg impression (it's passable enough that during "Viking for Hire," I keep expecting Edgerly's Gobber to say, "It's a great day for America Berk, everybody!"). Fortunately, the series has maintained the first film's sumptuous look, which was partly due to regular Coen Brothers collaborator (and now, Skyfall cinematographer) Roger Deakins, who served as the film's visual consultant, and its stunning dragon flight scenes, the result of the animators actually having done extensive research on aircraft physics and imbuing the dragons with aircraft-like movements.

If there's one beef I've had with Dragons so far, it's that it's talkier than the film version. Baruchel's voiceover narration as Hiccup feels lengthier here, although his expository voiceovers turn up only during the opening and closing moments like in the film. Now that Dragons has gotten all the re-establishing of the island setting of Berk out of the way, here's hoping the series finds ways to recapture the mostly dialogue-less visual poetry that made the film such a unique beast in the DreamWorks canon.